Arika have been creating events since 2001. The Archive is space to share the documentation of our work, over 600 events from the past 20 years. Browse the archive by event, artists and collections, explore using theme pairs, or use the index for a comprehensive overview.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
Radical transfeminism aims to hold the space for finding relations between the ruins of the everyday. Emerging from the debris, spaces for politics find form as poetics to carry understandings, actions and be/longings.
UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
Conceived of as a dual publication, video cassette and booklet, to be presented as an installation. The content of the videotape is the artist watching television.
Music is full of refracted brass and wind tones, distorted tape loops, dead silent air and the occasional piercing shard of sound.
Coming to us from Taipei, Yo-Yo sends us elsewhere while bringing us back with her to the timezone of tomorrow. A dancer, media artist, and choreographer who makes multi-dimensions and realms, Lin’s amplification of energies and connections across bodies devolves the separations we are taught to abide.
Glasgow based contemporary music group Paragon Ensemble performing an improvisation with Pete Dowling, Nick Fells, Robert Irvine and others.
Captures the creak and rustle of the forest, with an exhilarating tension let loose in unconfined maniacal and bare-knuckle group thinking.
Akio Suzuki and John Butcher performing in a large multi chambered industrial ice house.
A Feral Choir of people who’ve never improvised with their voices before, conducted by improviser yodeller, composer Phil Minton.
Work that focuses in on the static hiss and background noise of recording and pushes it to the fore.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
